Structural Analysis of COKETOWN by Charles Dickens
Dickens' first word makes immediately clear the setting: COKETOWN. He provides an apparently positive judgment by describing it as a "triumph of fact". To tell the truth though it's just a pretext to create a contrast with the absence of "fancy", a contrast that reminds to the double face of the Industrial Revolution. Right from the start, the omniscient intrusive narrator imposes his false positive attitude on the reader who is now influenced and no longer frees to have his own ideas without being affected. 
After introducing, Dickens describes the city from a materialistic point of view by using sense impression. The first sense he appeals to is sigh. The reader can imagine "a town of unnatural black and red". The adjective "unnatural", which already reminds to something that has been created by men and it's not part of the nature, is even more disparaging if combined with the colors of damnation, black and red. With this sentence the narrator creates the idea of a damned city, the city of Hell. In addition by using the similarity "like the painted face of a savage" he underlines, one more time, the artificial and false nature of the town.
As the narrator goes on explaining where the “unnatural” comes from, the image of coketown becomes more concrete. He keeps using senses to describe the brutality and sadness that were affecting not only the landscape but people and thus society. He refers to the religious code. Indeed, he uses the image of “interminable serpents" to represent the smoke that comes out from the chimneys, serpents which, in a puritan society, like the one he was living in, symbolize the devil. It was because of those reptiles that the canal was black and the river purple and smelly: they create pollution which destroys the nature as well as industrialization destroys society. Moreover, the verbs "rattling" and "trembling", which appeal to the sense of hearing and the onomatopoeically sound of the pistons, that go up and down all day long give the reader a clear image of the monotony of worker's lives. This image is reinforced by the anaphoric use of the adjective same ("same hours", "same sounds", "same pavements", "same work”). With this brief description, Dickens creates an obsessive and suffocated atmosphere that perfectly embraces the reality of that time. 
All this, he adds, was in opposition with all the "comforts" and "elegancies" that were spreading all over the world. But again, as Dickens did in the first paragraph by ironically describing coketown as "a triumph of fact", this time he judges the Victorian society he's living in full of "fine ladies, who could scarcely bear to hear the place mentioned"; in few words where all that really matters is appearance. 
In the fourth paragraph the narrator keeps the reader's attention on monotony. This time he refers to the architecture of the town. Everything looked the same. Even churches, built with red bricks, looked like factories. The only exception was the New Church but despite that you could distinguish buildings only by the black and white inscriptions. Again, he recalls to the double face of the industrial revolution by using the contrast between black and white which may be seen as a metaphor for hell, what they are living right now so reality and heaven, what they think they are living and so illusion. The idea of oppression and rush is also conveyed by the anaphoric repetition of the word "fact". Fact reminds to something that has been done by someone and so it's artificial and unnatural. Dickens uses this technique to inform the intelligent reader that there is no room for change, there is any hope. Society has changed and all that really matters is appearance. It's a materialistic society where a human being is less important than production and from this point there is no escape. 
The fifth paragraph is a further and clearer confirm of what has been said so far and it goes back to the fourth. The narrator openly criticizes an initially "triumphant" town only "sacred to fact" to underline the importance of appearance and the totally absence of values of the society he was living in. Nevertheless he makes the reader participant by posing him a question and making him feel like he was there, in the 18th century Coketown. As Dickens goes on, the atmosphere becomes more real. The detailed description of the city on a Sunday morning it's nothing more than sad. It suggests, again, the possession and monotony of people's life. Indeed, the narrator uses the repetition of the possessive adjective "own" (own quarter, own close rooms, own streets) and builds a sequence of events connected with the temporal adverb "then". Nothing changes, even on Sundays despite some more drunken people (either religious or not): that's how common people lived. 
All this mix of desperation, sadness, madness, monotony is finally put in contrasts with Mr. Gradgrind and Mr. Bounderby, the two characters previously met. The few lines Dickens reserves them at the very end of the paragraph may be seen as the little portion of society they represented: the bad face. They were wealthy "gentlemen", never thankful and "eternally dissatisfied and unmanageable". In his conclusion, the narrator uses the two men as a pretext to critics his society a one, as already understood, full of contradiction by starting with people themselves; a one where nothing was more important than appearance; a one where human beings were less important than facts.